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J'étais un admirateur de François Le Lionnais. Mon père, qui avait été de ceux qui luttèrent contre l'Allemagne nazie, m'avait fait lire, dès 1946, ce beau texte qu'est La peinture à Dora. Et plus tard. Les Grands courants de la pensée mathématique avaient joué un rôle décisif dans mon choix de devenir mathématicien.\u003c\/p\u003e\n\u003cp\u003ePendant cinquante ans ou presque, j'ai consacré une partie de mes efforts de compositeur de poésie et de prose à me comporter en oulipien, au sens où, je pense, Le Lionnais entendait ce terme. Comme pour toute théorie scientifique, il est nécessaire d'expérimenter, d'examiner régulièrement les concepts de la théorie, de réfléchir à ses applications, etc.\u003c\/p\u003e\n\u003cp\u003e1 - Me pensant élève du fondateur de la théorie, j'ai donc imaginé et proposé des contraintes, certaines nouvelles, d'autres seulement variations sur des contraintes existantes.\u003c\/p\u003e\n\u003cp\u003e2 - Je me suis, à plusieurs reprises, au long de ces années, interrogé sur le sens des trois notions essentielles à la compréhension de l'invention du Président Le Lionnais : Potentialité, Contrainte, Plagiat par Anticipation. D'où le titre CO VA RU, CO-mpositions, VA-riations et RU-minations plus ou moins contraintes.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003erue d'Amsterdam, le 31 février 2017\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eCet ouvrage est le deuxième des cinq volumes suivants : \u003cbr\u003eI Mètres, Rimes, Formes \u003cbr\u003eII Expositions, Célébrations, Fabrications \u003cbr\u003eIII Sextines, Quenines, Cousines \u003cbr\u003eIV Pan-Perdut \u003cbr\u003eV Tridents (2014-2015)\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eIl contient une partie des recherches de Jacques Roubaud sous contrainte.\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eL'ensemble des 5 volumes constitue le traité intitulé CO VA RU \u003cbr\u003eCompositions, Variations, Ruminations \u003cbr\u003eplus ou moins Oulipiennes.\u003c\/p\u003e\n\u003cp\u003e232 pages\u003cbr\u003e21,7x14,8cm\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eISBN 978-2-9540208-2-2\u003cbr\u003ePremière édition de 250 exemplaires\u003cbr\u003e\u003c\/span\u003ePublié par Martin Aboucaya \u0026amp; Yvon Lambert\u003c\/p\u003e\n\u003cstyle\u003e\u003c!--\n.tb_button {padding:1px;cursor:pointer;border-right: 1px solid #8b8b8b;border-left: 1px solid #FFF;border-bottom: 1px solid #fff;}.tb_button.hover {borer:2px outset #def; background-color: #f8f8f8 !important;}.ws_toolbar {z-index:100000} .ws_toolbar .ws_tb_btn {cursor:pointer;border:1px solid #555;padding:3px}   .tb_highlight{background-color:yellow} .tb_hide {visibility:hidden} .ws_toolbar img {padding:2px;margin:0px}\n--\u003e\u003c\/style\u003e\n\u003cstyle\u003e\u003c!--\n.tb_button {padding:1px;cursor:pointer;border-right: 1px solid #8b8b8b;border-left: 1px solid #FFF;border-bottom: 1px solid #fff;}.tb_button.hover {borer:2px outset #def; background-color: #f8f8f8 !important;}.ws_toolbar {z-index:100000} .ws_toolbar .ws_tb_btn {cursor:pointer;border:1px solid #555;padding:3px}   .tb_highlight{background-color:yellow} .tb_hide {visibility:hidden} .ws_toolbar img {padding:2px;margin:0px}\n--\u003e\u003c\/style\u003e\n\u003cstyle\u003e\u003c!--\n.tb_button {padding:1px;cursor:pointer;border-right: 1px solid #8b8b8b;border-left: 1px solid #FFF;border-bottom: 1px solid #fff;}.tb_button.hover {borer:2px outset #def; background-color: #f8f8f8 !important;}.ws_toolbar {z-index:100000} .ws_toolbar .ws_tb_btn {cursor:pointer;border:1px solid #555;padding:3px}   .tb_highlight{background-color:yellow} .tb_hide {visibility:hidden} .ws_toolbar img {padding:2px;margin:0px}\n--\u003e\u003c\/style\u003e\n\u003cstyle\u003e\u003c!--\n.tb_button {padding:1px;cursor:pointer;border-right: 1px solid #8b8b8b;border-left: 1px solid #FFF;border-bottom: 1px solid #fff;}.tb_button.hover {borer:2px outset #def; background-color: #f8f8f8 !important;}.ws_toolbar {z-index:100000} .ws_toolbar .ws_tb_btn {cursor:pointer;border:1px solid #555;padding:3px}   .tb_highlight{background-color:yellow} .tb_hide {visibility:hidden} .ws_toolbar img {padding:2px;margin:0px}\n--\u003e\u003c\/style\u003e\n\u003cstyle\u003e\u003c!--\n.tb_button {padding:1px;cursor:pointer;border-right: 1px solid #8b8b8b;border-left: 1px solid #FFF;border-bottom: 1px solid #fff;}.tb_button.hover {borer:2px outset #def; background-color: #f8f8f8 !important;}.ws_toolbar {z-index:100000} .ws_toolbar .ws_tb_btn {cursor:pointer;border:1px solid #555;padding:3px}   .tb_highlight{background-color:yellow} .tb_hide {visibility:hidden} .ws_toolbar img {padding:2px;margin:0px}\n--\u003e\u003c\/style\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":37164898975900,"sku":"","price":22.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/products\/IMG_20201203_172955.jpg?v=1607535095"},{"product_id":"jacques-roubaud-co-va-ru-vol-1-vol-2-edition-limitee","title":"Jacques Roubaud - CO VA RU - Vol.1 + Vol.2 (Édition Limitée)","description":"\u003cp\u003eÉdition limitée à 40 exemplaires numérotés et signé par Jacques Roubaud avec des marques pages d'artistes.\u003cbr\u003eChaque volume comprend 2 sets de marques pages.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eListe des artistes :\u003cbr\u003eCharles Sandison\u003cbr\u003ePeter Downsbrough\u003cbr\u003eRobert Barry\u003cbr\u003eClaire Morel\u003cbr\u003eAngela Detanico \u0026amp; Rafael Lain\u003cbr\u003eValérie Mréjen\u003cbr\u003eDaniel Gustave Cramer\u003cbr\u003eChristian Boltanski\u003cbr\u003eMerlin\u003cbr\u003eJason Dodge\u003cbr\u003eDominique Gonzalez-Foerster\u003c\/p\u003e\n\u003cp\u003e***\u003c\/p\u003e\n\u003cp\u003eSur la quatrième couverture :\u003c\/p\u003e\n\u003cp\u003eEn 1966, ayant envoyé à Raymond Queneau le manuscrit d'un livre de poésie qui parut, avec son aide, l'année suivante aux éditions de la NRF, je fus introduit par lui à l'Oulipo et immédiatement invité à faire partie de ce groupe littéraire plutôt original. J'étais un admirateur de François Le Lionnais. Mon père, qui avait été de ceux qui luttèrent contre l'Allemagne nazie, m'avait fait lire, dès 1946, ce beau texte qu'est La peinture à Dora. Et plus tard. Les Grands courants de la pensée mathématique avaient joué un rôle décisif dans mon choix de devenir mathématicien.\u003c\/p\u003e\n\u003cp\u003ePendant cinquante ans ou presque, j'ai consacré une partie de mes efforts de compositeur de poésie et de prose à me comporter en oulipien, au sens où, je pense, Le Lionnais entendait ce terme. Comme pour toute théorie scientifique, il est nécessaire d'expérimenter, d'examiner régulièrement les concepts de la théorie, de réfléchir à ses applications, etc.\u003c\/p\u003e\n\u003cp\u003e1 - Me pensant élève du fondateur de la théorie, j'ai donc imaginé et proposé des contraintes, certaines nouvelles, d'autres seulement variations sur des contraintes existantes.\u003c\/p\u003e\n\u003cp\u003e2 - Je me suis, à plusieurs reprises, au long de ces années, interrogé sur le sens des trois notions essentielles à la compréhension de l'invention du Président Le Lionnais : Potentialité, Contrainte, Plagiat par Anticipation. 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Trente-deux leçons et courtes unités d’enseignement ont été élaborées par David Horvitz, artiste et père, avec l’aide de sa fille de 5 ans.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003eDans la tradition des livres d’action conceptuels, David Horvitz a créé un long poème nous invitant à plonger dans les profondeurs de l’imaginaire. Jouer et apprendre avec la notion de « guide someone through the sounds of the world around you » et découvrir l’immatérialité des éléments qui constituent le monde.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDe « welcome the night into your house » en passant par « exchange breaths with\u003cbr data-mce-fragment=\"1\"\u003ea plant », cette publication de JBE Books, en association avec Yvon Lambert, est aussi l’occasion de développer une action performative pour chaque leçon et de constituer sa propre collection personnelle d’instruments poétiques.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eLe livre est enrichi d’un texte de Natilee Harren, chercheuse et spécialiste Fluxus\u003c\/p\u003e\n\u003cp\u003e***\u003c\/p\u003e\n\u003cp\u003eChange the name of the days is an artist’s book designed by the American artist David Horvitz. Thirty-two lessons and short teaching units were developed by David Horvitz, artist and father, with the help of his 5 year old daughter.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn the tradition of conceptual action books, David Horvitz has created a long poem inviting us to delve in the depths of the imagination. 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The cards were sent without an envelope from the U.S. to Paris. They are hung on the gallery’s walls when received. They are available for sale at the unit price of 100€ and are accompanied by a\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003ecertificate of authenticity.\u003c\/p\u003e\n\u003cp\u003eThe purchase is only possible at the actual time written on the card. The purchase of several cards is possible and will correspond to the time spent with Yvon Lambert, the dealer.\u003c\/p\u003e\n\u003cp\u003eThe cards corresponding to the gallery’s closing days and hours will be available only online on the gallery’s webshop. The purchase is limited to one card per order, the time of the order confirmation in Paris time will determine the minute purchased. In the case that this minute is no longer available, the order will be refunded. 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It is about exploring commonalities and differences between Western and Eastern worlds, and bridging the gap between expectations and ideals versus traditions and reality. Griyeb’s tale of\/from Morocco revolves around his cousin Khalid, whose identity and interests are inveigled by Western proponents, and terms of modern ideology, which are met by eternal aspects of reality placed in a particular cultural climate.\u003cbr\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIlyes Griyeb’s body of work portrays a picture of legacy, both tangible and intangible, that has left a blueprint inherited from past generations or heritage as a by-product (pre)determined by society. 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Seeing depends on our habits and intentions, and our ideology is usually a by-product of social perceptions, in which we are trained to see certain features a certain way, consequently often seeing things that don’t exist, and fail to recognise things that do. Sahmaran Gün’ homecoming brings attention to the everyday life of her community; Turkish immigrants living in the ‘Banlieues’ of Paris, showcasing there is more commonality between us than we think, and that our history is shared, as each generation, society, race, has a familiar set of personal characteristics and common life experiences.\u003cbr\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003c\/p\u003e\n\u003cp\u003eSolène Sahmaran Gün’s work plays with the idea of identity, youth, and territory. 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It marks the tenth anniversary of Glissant's passing. Translation by Emma Ramadan.\u003c\/p\u003e\n\u003cp\u003eHans Ulrich Obrist met the Martinique-born philosopher, poet, and revolutionary Édouard Glissant in the mid-nineties; the encounter influenced the direction of Obrist's work for years to come. As one of today's most prolific producers of culture, Obrist has left an indelible mark and Glissant, in part, through him. Throughout 2021, during the pandemic and ten years after Glissant's death, Obrist has edited, reworked, and arranged their conversations in their entirety for the first time. THE ARCHIPELAGO CONVERSATIONS is the result: a book designed to introduce the most important philosopher of the 21st Century to a broad, public audience - a ready-to-hand tool for building an interdependent Earth.\u003c\/p\u003e\n\u003cp\u003eHans Ulrich Obrist (1968) is artistic director of the Serpentine Galleries in London. Prior to this, he was the curator of the Musée d'Art Moderne de la Ville de Paris. He has curated more than three hundred shows since 1991. Obrist's recent publications include Lives of the Artists, Lives of the Architects (2015), Mondialité (2017), Somewhere Totally Else (2018), The Extreme Self: Age of You (2021).\u003cbr\u003e\u003cbr\u003eÉdouard Glissant (1928 - 2011) was a French writer, poet, philosopher, and literary critic from Martinique. He is widely recognised as one of the most influential figures in Caribbean thought and cultural commentary and Francophone literature. Glissant was a disciple and fellow countryman of the poet Aimé Césaire, who founded the Negritude movement to promote an African culture free of all colonial influences. This led him into political action, founding The Antillean-Guyanese Front with other writers, such as Béville and Corsnay Marie-Joseph, and fought for the independence of the French West Indies and Guiana from France's rule. He became the father-figure for the Créolité group of writers that includes Patrick Chamoiseau and Raphaël Confiant.\u003c\/p\u003e\n\u003cp\u003eEditors: Hans Ulrich Obrist, Sebastian Clark, India Ennenga\u003cbr\u003eTranslation: Emma Ramadan\u003cbr\u003eIlustraions: Édouard Glissant\u003cbr\u003ePage: 215 pages\u003cbr\u003eSize: 11 x 7 cm\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eISBN: 9781735075068\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e© isolarii\u003cbr\u003e\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":42697387737321,"sku":"","price":19.95,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/products\/archipelagofront2-1600x.jpg?v=1646906079"}],"url":"https:\/\/www.yvon-lambert.com\/collections\/staffs-pick.oembed?page=11","provider":"Yvon Lambert Paris","version":"1.0","type":"link"}